摘要：This article is about the ‘orchestral audiovisual’: in what way do the new image and sound mediums translate Beethoven’s orchestral music? The orchestral audiovisual é characterized, first, in its intersemiotic relations, as we consider its implied mechanisms of translation and transcreation. The concepts that these categories subsume and the typology of translations elaborated by Julio Plaza (2008) sustain the analysis of three audiovisual versions of Beethoven’s Sixth Symphony. To these versions correspond three modes of transcreation: Humphrey Burton indexically translates the music as it is realized in the concert house, through the establishment of conventional contiguities; Hugo Niebeling iconically translates the music into the audiovisual through the creation of relations of qualitative similitude between the music’s form and the orchestra’s form; and Stephen Malinowski, through a series of codifications that regulate the topological distribution of the visual elements, engenders a symbolic translation very much like the one foreseen by Michel Chion. Keywords: orchestra, audiovisual, intersemiotic translation, transcreation.
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